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RELIGION AMD ART
1. David T^c^J in The Analogical Imagination, on page 110,
argues against _a mere siatoj^ctivism^in art, which simply says
everyone has their own F§n§T_e". It goes back to the scholastic
axion that about taste there is no argument. Another problem
with art theory is that it is all about under stal_3lT_g—the—
neuroses of—the—a_et±st. Still another__pxobleio i_____the Communist
use of the artist to produce "socialist, realTsm73 Finally,
Christians can impo_se_ their own standards on works of art,
failing to give them their own autonomy.
2. Tracy argues that in the presence of any classic work of art,
we do not experience ourselves as autonomous subjects, possessing
certain tastes. Instead, we are caught .up .in its world —
shocked^ suprised, challenged by its startling beauty and its
recognizable truth, its instinct for the essential. In an actual
experience of art, we do not^_exp_er^ience the artist hghind the
work of art, but rather_^ti}_a_j^uth of the work1;; disclosu^t^ of the
world of reality, jrf^ns^rming^3~if^onlg-Ssxc-su..moment,. _ourselves,
our lives, our destiny.
3. In a hnmngenpniis—culture, peoplewere trained to be in_tune
with the djstslosivej; and Jar an s forma tjp?e power and truth of ~the
work, of art.
4. p^ron)'s image for the artistic process was "the vol g^iiQ_jghj_£ih
must erupt to prevent an earthquake." K<^r0i considered the .genius
as "this favorite!' of nature who unconsciously speaks nature's
truths.
5. Tracy is convinced that art has become too private today. We
put a great deal of stock in spontaneity and feeling, which are
purely private.
6 ,^iSadamerJ says that the actual experience of the _work_._af__art can
be called a realized experience of an event of truth. Really,
our own subjectivity is never in control of the experience. Nor
is the work of art simply an object over against me. Rather, the
work of art <*r<"<^™ii*--c*jF?>~w<& with the___s.urpri se—impact and even shoGk
of realit^__itself. The real aesthetic experience transforms us
and helps us "recognize things we did not see clearly. We
transcend our everyday self-consciousness ^^ our usual desires
to control. We tend to recognize what is imp_ortant, essential
and what is real, beyond distractions, diversions, opinions, idle
talk, techniques of manipulation. (AridxevT'WyiEh.? on TV stressed
how dj_ffijri_.lt it was for him to avoid beinq__se_n_tJ_mental. )
7. Later, after the experience, we might consider how the
diselosuxe^ relates to our vision of the world. Does i t rh^Heetge
my vision or confirm it? Does it suggest a mystery dimension?

RELIGION AMD ART
1. David T^c^J in The Analogical Imagination, on page 110,
argues against _a mere siatoj^ctivism^in art, which simply says
everyone has their own F§n§T_e". It goes back to the scholastic
axion that about taste there is no argument. Another problem
with art theory is that it is all about under stal_3lT_g—the—
neuroses of—the—a_et±st. Still another__pxobleio i_____the Communist
use of the artist to produce "socialist, realTsm73 Finally,
Christians can impo_se_ their own standards on works of art,
failing to give them their own autonomy.
2. Tracy argues that in the presence of any classic work of art,
we do not experience ourselves as autonomous subjects, possessing
certain tastes. Instead, we are caught .up .in its world —
shocked^ suprised, challenged by its startling beauty and its
recognizable truth, its instinct for the essential. In an actual
experience of art, we do not^_exp_er^ience the artist hghind the
work of art, but rather_^ti}_a_j^uth of the work1;; disclosu^t^ of the
world of reality, jrf^ns^rming^3~if^onlg-Ssxc-su..moment,. _ourselves,
our lives, our destiny.
3. In a hnmngenpniis—culture, peoplewere trained to be in_tune
with the djstslosivej; and Jar an s forma tjp?e power and truth of ~the
work, of art.
4. p^ron)'s image for the artistic process was "the vol g^iiQ_jghj_£ih
must erupt to prevent an earthquake." K~w